Sophie Theallet / Spring 2014 RTW

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There were two major sticking points in Sophie Theallet’s spring collection: the thistle print, which was applied to everything from hammered silk separates to crisp Japanese cotton dresses, and the knitwear—slinky little skirts and T-shirts made in an open, circular pattern not so dissimilar to the traditional hole-to-hole weave found in classic wicker furniture (how summery). The former was inspired by the kinds of botanical illustrations once used by doctors for medicinal purposes. “The thistle is both a weed and a remedy, so it signifies these two things,” Theallet said. The latter is the outcome of the designer’s recent connection with a factory in Italy: “I am so happy about it because now I can make the knitwear that I really want to make.” Both design elements took the thing that Theallet does best (a very, very pretty dress with clever construction and effortless wearability, should you need reminding) to a level that was not only graphic, but also deliberately sexy.

“I wanted to express a sense of sensuality as seen through the eyes of a woman,” Theallet explained at a preview of the collection yesterday. “So it’s always on the frontier of something seductive, but it’s never vulgar.” Take, for example, a pencil skirt made out of the aforementioned see-through knit, which was shown with a modest, built-in hot-pant lining. Or, the Chantilly lace, which, when applied directly onto leather, looked less boudoir than biker. “I wanted to give my girl a certain savoir faire,” said Theallet. Meaning that even when she was showing some skin she looked ready for anything.

There were a number of more commercial pieces on the runway (and many more on the racks left behind in Theallet’s showroom, it’s worth pointing out), including a mossy green drawstring day dress and a buttoned-up blouse tucked tightly into a black skirt that kicked out at the knees. So if the coral-plus-blue and mustard-plus-pink color combinations don’t appeal, know you’ll probably be able to get it in black come spring. “I wanted to stay focused on the woman I dress,” said Theallet, pointing to the fact that her palette was intended to be “not obvious.” Which is a good way to describe the deceptively simple, exceptionally crafted clothes that Theallet has proved capable of making on this day, or any.